Coming Storm, 1864

Provenance

Mr. Seabury, by 1875
Sale, Doll & Richards, Boston, February 26-27, 1875, no. 83, from above
Samuel Hammond Russell (1823–1894), Boston, Massachusetts, by 1875
Lady Edith Playfair (1848-1932), London, England, daughter of above, by 1902
John Levy Galleries, New York, New York, by 1916
M. Knoedler & Co., New York, New York, acquired from above, 1916
Harold Willis Nichols, Cincinnati, Ohio, acquired from above, 1920
Mary Osgood (née Nichols) Keasbey, Jr., New York, daughter of above
Estate of above, 1979
Betty Krulik Fine Art, Ltd., Irvington, New York, consigned from above, 2008
Meredith Long & Company, Houston, and Adelson Galleries, Inc., New York, New York, acquired from above, 2008
Private collection, Delaware, acquired from above
Sale, Bonhams, New York, New York, May 1, 2024, lot 52, from above

Exhibited

Sowles’ Gallery, Boston, Massachusetts, 1865
Museum of Fine Arts, Boston, Massachusetts, May 29–October 24, 1877
M. Knoedler & Co., New York, New York, 10th Annual Summer Exhibition, 1917
Worcester Art Museum, Massachusetts, on loan until 2008

Literature

The Evening Post, New York, August 8, 1865, cover page.

Sixth Catalogue of the Collection of Ancient and Modern Works of Art Given or Lent to the Trustees (Boston: Museum of Fine Arts, 1877), 54, no. 109. (as The Coming Thunder-Gust, Raritan River)

LeRoy Ireland, The Works of George Inness: An Illustrated Catalogue Raisonné (Austin: University of Texas Press, 1965), 74–75, no. 294.

Michael Quick, George Inness: A Catalogue Raisonné, Volume One (New Brunswick, NJ: Rutgers University Press, 2007), 238–39, no. 225.

Related Works

Landscape with Farmhouse, 1869, oil on canvas, 37⅝ x 52½ inches; Mead Art Museum, Amherst College, Massachusetts

Hazy Morning, ca. 1875, oil on canvas, 30⅛ x 45⅛ inches; Museum of Fine Arts, Boston, Massachusetts

Storm on the Delaware, 1891, oil on canvas, 30⅛ x 45⅜ inches; Mildred Lane Kemper Art Museum, Washington University, St. Louis, Missouri

Sunlit Valley, 1893, oil on canvas, 24 x 36¼ inches; The Art Institute of Chicago, Illinois

Note

An 1865 article from The Evening Post describes the painting as capturing “that moment of breathless silence, the hush before the storm so common in our summer afternoons.” The author continues, “This picture is another evidence to me that George Inness stands in the front rank of the great landscapists of the world.”